Due: 6th October Create a sketchbook page based on the theme 'A life less ordinary". Use your prefered materials and explore the theme in an individual way. It is up to you as to how to interpret it and what you would like to draw/create. A movie exists with this title and a song, but you can use a dictionary to expand on the words and research the individual components of the title eg 'life', 'ordinary' etc. A mind map will help spark creativity. Connect the theme to issues and topics which personally engage and interest you.
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Homework:
Draw either a natural or manmade object from the list below: an old boot a pineapple a set of scissors tomatoes on a vine Grapes on the vine a kettle The drawing must be detailed and include a detailed close-up box in the top corner of the sheet. Align the page either portrait or landscape depending on your object's height and width Homework: Take either a self-portrait or picture of someone inspirational. Print it out in black and white to be turned into a painting using Tint and Shade.
vimeo.com/58172850 Click the above link to view the Zandra Rhodes sketchbook discussion. Also, watch the youtube video below to help inspire you. For your initial research sheet you need to tease out and explore the theme. Explore it via artist's' work, observational studies, sample sketches and using a dictionary! Personalise the work. The theme must be relevant to you
Question: Paul Cézanne (1839-1906) was a major innovator in the history of painting. Discuss this statement with reference to his painting, “Le Montagne St Victoire with large pine” which is illustrated on the accompanying sheet. and Name and discuss briefly one other named work by Cézanne. Biography Childhood Paul Cézanne was born on January 19, 1839 in Aix-en-Provence in the South of France. His father was a wealthy lawyer and banker who strongly encouraged Paul to follow in his footsteps. Cézanne's eventual rejection of his authoritative father's aspirations led to a long, problematic relationship between the two, although, notably, the artist remained financially dependent on his family until his father's death in 1886. Early TrainingCézanne was largely a self-taught artist. In 1859, he attended evening drawing classes in his native town of Aix. After moving to Paris in 1861, Cézanne twice attempted to enter the École des Beaux-Arts, but was turned down by the jury. Instead of acquiring professional training, Cézanne made frequent visits to the Musée de Louvre, where he copied works by Titian, Rubens, and Michelangelo. He also regularly visited the Académie Suisse, a studio where young art students could draw from the live model for a very modest monthly membership fee. While at the Académie, Cézanne met fellow painters Camille Pissarro, Claude Monet, and Auguste Renoir, who were at that time also struggling artists, but who would soon comprise the founding members of the nascent Impressionist movement. The early oils of Cézanne were executed in a rather somber palette. The paint was often applied in thick layers of impasto, adding a sense of heaviness to already solemn compositions. Cézanne's early painting indicated a focus on color in favor of well-delineated silhouettes and perspectives preferred by the French Academy and the jury of the annual Salon. While in Paris, Cézanne continuously submitted his works for exhibition at the Salon. All of his submissions, however, were refused. The artist also travelled regularly back to Aix to secure funding from his disapproving father. From Our Sponsor. Article Continues Below Report AdThe year 1870 marked a crucial shift in Cézanne's painting which was occasioned by two factors: the artist's move to L'Estaque in the South of France to avoid the military draft, and his closer association with one of the most distinguished young Impressionists - Camille Pissarro. Cézanne was fascinated with the Mediterranean landscape of L'Estaque, with its abundance of sunlight, and the vibrancy of colors. Pissarro proved instrumental in persuading Cézanne to adopt a brighter palette, as well as to abandon the heavy and ponderous impasto technique in favor of smaller and livelier brushstrokes. In L'Estaque, Cézanne executed a series of landscapes dominated by the architectonic forms of the rural houses, the dazzling blues of the sea, and the vivacious greens of the foliage. In 1872, Cézanne returned to Paris, where his son Paul was born. His mistress, Hortense Fiquet, would finally become Madame Cézanne in 1886, notably following the artist's father's death. Cézanne painted over forty portraits of his companion, as well as several enigmatic portraits of their son. In 1873, Cézanne exhibited in the Salon des Réfuses, the notorious show of artists who had been refused by the official Salon (Cézanne could count himself among a circle including Édouard Manet, Claude Monet, and Camille Pissarro, among others). The critics slammed the avant-garde artists, which apparently hurt Cézanne deeply. In the next decade he mostly painted away from Paris, in either Aix or L'Estaque, and he no longer participated in unofficial group exhibitions. Mature PeriodCézanne's experience with painting from nature led him to develop his own theory of art. He strove to depart from the portrayal of the transient moment, long favored by the Impressionists; instead, Cézanne sought true and permanent pictorial qualities of objects around him. According to Cézanne, the subject of the painting was first to be "read" by the artist through the understanding of its essence. Then, in the second stage, this essence must be "realized" on a canvas through forms, colors, and their spatial relations. The colors and forms thus became the dominant elements of his compositions, completely freed from the rigid rules of perspective and paint application as promoted by the Academy. Depicting reality as such was never Cézanne's primary objective. In his own words, it was "something other than reality" that he endeavored to reveal. In Cezanne's mature work, the colors and forms possessed equal pictorial weight. The primary means of constructing the new perspective included the juxtaposition of cool and warm colors as well as the bold overlapping of forms. The light was no longer an "outsider" in relation to depicted objects; rather light emanated from within. Instead of the illusion, he searched for the essence. Instead of the three-dimensional artifice, he longed for the two-dimensional truth. These principles of painting were also applied to still lifes and portraits. In the 1880's, Cezanne executed a large number of still lifes, completely reinventing the genre in the two-dimensional mode. The central feature of these still lifes was the crucial shift of attention from the objects themselves, to the forms and colors that were potentially communicated by their surfaces and contours. This radical liberation of form and color from their carrier, the object itself, directly precipitated the basic principles of Cubism, Expressionism, and later experimentations with various degrees of abstraction. Cezanne's portraits, including an extensive body of self-portraits, exhibit the same set of traits. The compositions are vividly impersonal, for it was not the sitter's character that Cezanne struggled to depict but the formal and coloristic possibilities of the human body and its interior nature. Late Period and DeathIn the last decade of his life, Cézanne limited his artistic pursuits almost exclusively to two pictorial motifs. One was the depiction of the Mont Sainte-Victoire, a dramatic mountain that dominated the parched and stony landscape at Aix. The other was the final synthesis of nature and the human body in a series of so-called Bathers (nudes depicted frolicking in a landscape). The latest of the Bathers were becoming increasingly abstract in regard to how form and color seemed to fuse together on the canvas. After contracting pneumonia, Paul Cézanne died in his familial house in Aix on October 22, 1906. The last decade of his life had been marred by the development of diabetes and severe depression, which contributed toward alienating the artist from most of his friends and family. LegacyWhen looking at Cézanne's late work, it is impossible to miss the emergence of a unique artistic approach. The rules of the Academy completely abandoned, and the aesthetics of Impressionism having been successfully employed but not copied, Cézanne offered a new way of comprehending the world through art. With his reputation evolving steadily in the late years of his life, an increasing number of young artists fell under the influence of his innovative vision. Among them was the young Pablo Picasso, who would soon steer the Western tradition of painting into yet another new and utterly unprecedented direction. It was Cézanne who taught the new generation of artists to liberate form from color in their art, thus creating a new and subjective pictorial reality, not merely a slavish imitation. The influence of Cézanne continued well into the 1930s and 1940s, when a new artistic manner was coming to fruition - that of Abstract Expressionism. Click the link to access my powerpoint. Scroll through to find the section on Jacques-Louis David and the Salon.
Time lapse video on portrait drawing. Watch it!
Homework: from the images below draw the front, side and 3/4 profile of any of the images below. DETAIL required and TONAL VARIATION Homework:
We will work on the following Craft component as practice for your 10 week project. We will use Monday's class to work on this section. This will be ongoing up until the last week in November.
In Today's class: Goal: Draw drapery with photorealistic accuracy 1. Apply what you know about chiaroscuro, shadow, hard and soft edges, and reflected light to the three-dimensional forms in folded fabric 2. Compose a balanced drawing Process: 1. Hang a sheet by two thumbtacks or drape a shirt or jacket over an edge. 2. Use coloured or toned paper 3. Block out the major shapes you see. Double check proportions and angles of contours/edges. 4. Block in dark, middle, and light tones. Be aware of shadow edges and reflected light. Compare values to each other.The trick is to use the paper as your mid-tone, use BLACK only in the shadows and use WHITE for all the tones lighter than 50%. Be very careful to only put the white charcoal on clean areas of your paper where there isn’t any black charcoal. If the black and white charcoal mixes they turn a very ugly grey 5. Refine your drawing. Keep your shading SMOOOOOOTH, no hatching or cross-hatching and NO SMUDGING! Da Vinci. Caravaggio. John Singer Sargent. Raphael Homework:
This depiction of a mythical celebration shows nymphs and satyrs revelling before a statue of Pan, the god of woods and fields. Pan’s identity in this work may have been combined with that of Priapus, a deity of gardens. Both are associated with fertility and Bacchic ritual. The painting contains a number of literary and visual references; the instruments being played, the sacrificial deer and the props in the foreground are all either attributes of Pan and Priapus, or are linked with such rites. These include panpipes, theatrical masks (comedy, tragedy and satire), and a shepherd’s staff. Poussin focuses on the panic and confrontation between the men and women, against an architectural backdrop that draws our eye into the distance with diagonals created by the buildings on the right. Notice how the vertical pillars contrast with the horizontal movements of the crowd. The linear perspective created gives the work its vanishing point. Note how the artist organizes the figures along two opposing diagonal lines that commence at the edge of the painting and meet where there is a gap in the landscape. Note also how he creates groups of figures here and there that introduce random elements into the centre of the picture, bringing variety to the tightly structured scene. Poussin’s Subject Matter A man of extraordinary learning and intellectual sophistication in his own right, Poussin played a significant role in the choice of subject for many of his private commissions. Some are themes of his own invention or subjects that no previous artist chose to depict; frequently his paintings carry a moral or philosophical message, or draw attention to man’s precarious position in the universe. They are inspired by Ovid’s Metamorphoses, ancient history, certain stories from the Old Testament, and—late in his career—the seven Sacraments (The Confirmation, from the series of The Seven Sacraments, Collection of the Duke of Rutland, Belvoir Castle) conceived within the early Christian church. Toward the end of his life, he would create a group of transcendent landscapes with Stoical themes, including four paintings representing the Seasons, now in the Louvre, Paris. All of these subjects he painted with extraordinary empathy and near-identification. Although they might suggest conflicting systems of belief—Pagan, Jewish, Christian, Stoic, Pantheistic—Poussin seems to have taken on each type of narrative as an even-handed, respectful interpreter, representing each as a product of human culture and history and of our essential need to create order out of what might seem chaos. These pictures appear to be about “faith” as a phenomenon as much as they are about a particular faith. Early Works During his first years in Rome, Poussin sampled many different artistic styles, but he chose his influences carefully. He was clearly impressed by the paintings of the great Venetian colorist Titian(ca. 1488–1576), as well as by the friezes he found on Greco-Roman tombs. The wonderful little Rest on the Flight into Egypt (1997.117.6 ) may date as early as 1627 and reveals a clear debt to Titian. The playful horde of putti, the highly keyed reds, blues, and whites of the Virgin’s robe, and the intensely blue sky—as well as the optimistic spirit of the picture as a whole—reveal Poussin’s admiration for Titian’s Bacchanals, then in the Aldobrandini collection in Rome. What Poussin brings to the picture that we would not expect to find in a similar work by Titian is its intimacy (due in part to the small scale) and a very tender poetry. Understanding Poussin In a letter to his close friend and patron Paul Fréart de Chantelou, Poussin instructs us in appreciating his art. After hearing of Chantelou’s disappointment when he compared a more sober canvas he had just received from the artist with a more sensuous and pleasing painting Poussin had made for another French collector, the artist patiently explained to him that various subjects made different demands on an artist, and required very different expressive means to properly fulfill them. Just as the Greeks created “Modes” to write music with a different spirit or mood for different contexts, Poussin tells his friend, so he, in a similar manner pursued his art, always seeking the design, handling, and formal means appropriate to a given subject. From such remarks developed the “Theory of the Modes” that has been linked with Poussin’s name since the seventeenth century, and which helps us to understand his artistic process. These remarks also reveal Poussin’s unusual self-awareness and his tendency to be analytical where his work was concerned. Sometimes associated with an uncompromising, almost ascetic formalism, Poussin’s art is, in fact, a marriage of poetry and reason, sensibility and intellect, a balance of two aspects of one character. Sometimes they sit comfortably together in a finished work. Sometimes, in a particular painting, intellect or sensibility might prevail to a lesser or greater degree, not with unhappy consequences. We may even sense, in his more austere or sober productions, a renunciation: of elegy, tenderness, the world of the senses. One looks to these paintings as much to read the extraordinary character of their creator, as for their beauty and interest as works of art. Poussin’s paintings would have a profound influence on many later artists, in particular such classical and classicizing painters as Jacques Louis David , Paul Cézanne , and Pablo Picasso . Tuesday 12th
Select one of the Still Life paintings below and create your own version of the painting in your sketchpad.
Due : 18th
Draw a self-portrait wearing sunglasses. In the reflection of the glasses draw any object. You can work directly from a mirror or photograph, save to your Ipad or print photo out . This exercise focuses on both portraiture and still life combined. It has to be done A4 size in your sketchbook, you can use a combination of both colour & pencil, charcoal, paint, whatever medium you feel is suitable for your creation. . Please click the link to view some of the sketchbooks from the sketchbook library website. It's so inspiring
Read the subtitles. He is extremely influential. Also, click this link to view more videos on his work www.clarkart.edu/exhibitions/pissarro/content/video-highlights.cfm5th year Art History Due: Thursday 14th Select one of the following questions to answer for homework. Illustrate your answers. Two A4 pages of writing and one A4 page of sketches (if you discuss 2 paintings then you must draw them both ) Question 2012 Section II Caravaggio's study of reality and his use of light and shade combine to create an atmosphere of emotion and drama in his work The Taking of Christ. Discuss this statement referring to the period in which it was produced, the style, composition, and the handling of materials. And Name and briefly discuss one other work by Caravaggio Question 2 Lady Writing a Letter by Jan Vermeer is illustrated on the sheet Answer (a) and (b) (a) Describe and discuss this painting under the following headings:
Illustrate your answer Read the introduction chapter of the Appreciating Art book to assist In today's class we looked at how various artistsuse line to express or convey an emotion. We cut out their images and replicated their use of line in the margins of the sketchbook
For homework:
Create a portrait of someone at home or a self-portrait utilising your favourite artists' style of work. Try to fill the a3 page ! |
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